C

D

B

A

A

A

C

B

Supplementary question:

1. How to treat the imitation, innovation, inheritance and development of China's animation? As far as the current situation of domestic animation is concerned, which aspect is more practical? )

The imitation is so bad that the skin is painted without bones.

The lack of innovation motivation may be due to the limitation of younger age and national conditions.

I didn't do it at all. I didn't pass on the classics of Shanghai Art Studio before, especially the ink animation I yearned for most. Landscape reached a peak 30 years ago, comparable to Japanese animation, but it became extinct in our generation.

If you want to develop, you need to find the direction of development. Now China is doing two-dimensional and three-dimensional, both of which are messy, and finally nothing can develop.

I suggest that the animation industry in China devote all its energy to ink animation, because only we in China can do ink animation. We should not only be satisfied with being the first in the world, but also develop ink animation to a height that other countries can't reach.

2. The only criterion for the success of an animation is whether the economic benefits are great. What do you think its measurement standard should be (including what aspects)?

The huge economic benefits show that this animation work has a certain artistic level, because no one will invest money in shoddy animation.

Although artistic, it will continue to be strengthened. The most important thing is the connotation, which depends on whether the understanding and implication of China culture in the works are high enough.

3. Why is the commercialization and artistry of China animation seriously out of line? Is there a contradiction between artistry and entertainment?

Because of the lack of innovation, China animation has been imitating Japanese two-dimensional and American three-dimensional, and has no own style at all.

Art and entertainment are not contradictory. The higher the artistry, the higher the entertainment. I think the aesthetic quality of the audience will be higher and higher in the future, so the requirements for artistry are very strict.

4. Many university works have obvious personal style, and perhaps there are many profound connotations (or the content of stream of consciousness), which makes people feel a sense of distance. However, college animation has a series of characteristics such as high production level and high artistry. Commercial animation lacks profound humanistic spirit, and many young people think that the current country is too naive, so the evaluation is very low. If the two complement each other, it will make the country a big step forward. ..... But how to bridge and cooperate between scholars and businessmen is really incompatible? University animation can never be "commercialized"

I think China's academic creation has much more room for development than Japan's, because Japanese animation culture has reached its heyday, and people who study animation will inevitably be influenced by the mainstream style, which is not conducive to personal style innovation. China, on the other hand, has great potential for personal creation.

As for the cooperation between scholars and businessmen, it is of course their problem, because both sides must have the value of mutual use, otherwise they will never be able to achieve a fit. So let both sides know each other's value and work hard. For the future of China animation, it is worthwhile to sacrifice some economy.

5. Is it a way to improve the artistry of animation by adapting literary works, cartoons and film and television works into animation scripts and drawing materials from them? What do you think of this?

Needless to say, most comics are directly adapted from comics. There is no need to change film and television works into animation, because there is a certain gap between film and television and animation, and their connotations are very different, and the consequences of hasty adaptation will be embarrassing.

I think the adaptation of literary works into animation is the most promising. Many animations in Japan are based on novels, which seems to be much more profound than the direct adaptation of comics.

Our China literature is a huge treasure house. As long as we select suitable materials and make rational use of them, we will certainly be able to create excellent animation works.